East Lansing Reviews

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dongringo
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Re: East Lansing Reviews

Post by dongringo »

These are all really good reviews. Gotta love it when reviewers actually attend the show and think for themselves.
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atreyu
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Re: East Lansing Reviews

Post by atreyu »

porschesrule wrote:She doesn't recognize the fact that there are several (6-7) musicians that travel with the show -- so it's an 11 or 12 piece orchestra that plays at every Billy show.
It's down to a 9 piece orchestra. At least it was in Austin. Although there are 5 that travel with the show, 2 of them alternate in the same conductor/keyboard role.
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Re: East Lansing Reviews

Post by cws8998 »

"CHASING RAINBOWS...?

Can we talk about it straight up, especially since its only January? I know it may sound ludicrous for Michigan, notwithstanding, Indiana, being that both states are into the depths of winter. The fact remains, whenever I pursue forays to another state, another city, another venue, to experience the almost spiritual epiphany I find inherent in Billy Elliot's journey, it conjures up for me a trip to the end of a mythical rainbow in search of "riches and treasures." With all sorts of discussion in the Forum regarding the impending conclusion of the Northern American Tour well within ear shot, for some of us in the hinterland, the chances of seeing a weekend of the musical in the long term seems to be numbered. I admit I am inclined to revert to a degree of hyperbole with the hopes of celebrating such a weekend whenever the opportunity presents itself. So, yes, I've chased another treasure at the end of a rainbow in East Lansing, MI, as that's how I feel every time I show up in a new city to experience BETM.

So you can obviously ascertain how I found myself at the Wharton Center's Cobb Great Hall, as it's called, on the campus of Michigan State University feeling fortunate to have seen the shows this past weekend. I also felt fortunate not to have been deterred by any serious "lake effect" snow event which could have curtailed a three hour drive and the sacrifice of some four hundred bucks worth of orchestra front tickets.

Allow me a word about the Wharton Performing Arts Center! This is a gorgeous and massive entertainment complex, the largest such complex of its type in the State of Michigan. It is a modern 4 story glass and brick edifice containing four entertainment venues of which the Cobb Great hall is at its hub. This is a theater with a seating capacity of 2420 which serves all elements of modern theater from the Joffrey, the Chicago Symphony Orchestra, Phantom, Wicked, Lion Kind, Billy Elliot, anything you can name. The entire main floor, considered the orchestra section contains rows from front to rear numbering 36 to 69 seats across. I mention that for the amusement of those of us who appreciate a center aisle, or two...of which there were none in the Cobb. Talk about utter "entrapment, UGH!!! Attendance for the weekend performances, was estimated as 1300, 1700, 1500, 1500, 1300. These were ticket office numbers, not including last minute sales.

Anyway, to be sure, it was mid-winter in Lansing. But when one looks forward to finding a treasure or two securely wrapped in the likes of Noah Parets, Ben Cook, the constantly interchanging cast [as was the case this weekend], and now the addition of two glorious and polished "rookie" performers, you have to know that any reward one might seek while watching Billy Elliot will surely lead you to the promised land of Theatrical excellence.

A brief expression of some sadness not seeing Kylend Hetherington on this weekend's excursion! Knowing he would no longer be a part of the BE lineup weighed on my mind having been so use to seeing him on such trips. I knew what to expect from discussions with him and his mum in Indianapolis. Nevertheless, with Michigan being his home state, I still dearly hoped they would both reconsider and hold tight through this week. Of course, it was just not to be. On the other hand, it is always a very special time when initially seeing a new Billy, or two, come on the scene. There is no righteous pathway whatsoever in making comparisons between the new and the old, since we all know within the context of time and space, and without exception, they all blend into a magnificent whole. With Drew and Mitchell having come on board, we now experience a kind of renewal, or "rebirth," if you will, with these two enormously gifted youngsters providing us the elegance and magic to which all of us devotees have become accustomed to expecting from the extraordinarily gifted youngsters who assume the role of Billy.

"KEEP IT SHORT....OR NOT"

In answering my own question, I must say I remain conflicted upon being reminded following my last review from Indianapolis, that lengthy reviews were not looked upon favorable by some Forum Compatriots. That thought caused me to cringe a bit, given I do go to some lengths enlisting narratives and a few anecdotes of sorts, in hopes of providing a bit of color to the mundane and often multiple numerations of techniques, glitches or nuances to which we've become so accustomed over the years. I'm not sure I know how to tighten things up a bit, and hence I'm afraid this review may disappoint some. This is also my way of interjecting and fostering a personal narrative of connection to this story which defines my motivation for returning to its stage so frequently in an attempt to grasp yet another "treasure." So I do apologize to those whose attention will flag as you may or may not read on.

"HOWEVER....!"

For the sake of those to whom details/nuances mean a great deal, as an example, and to the extent I could remember from a host of past performances, here's some observations from Friday night.
It was such a real shame that Mitchell [bless his heart] could not answer the call for the second curtain, as I felt he was right on target to an extent was possible throughout the first act. I did sense a bit of energy lagging during the Angry Dance, and perhaps that was fortuitous as to what we didn't know what was coming ahead. Suffice it to say, as back up this night, Ben's appearance, in size contrast of two actors playing the same role in a single performance, was so visually striking, you would have thought you were seeing a "mirage."

1. Small boy was a "gal," in disguise. Billy actually appeared smaller than "him."
2. There were no piano flips or aerials executed in this performance. They were as the weekend progressed.
3. George threw the keys for Ms. Wilkinson so high and so far, they slid off the opposite side of the stage. Mitchell had to go into the wing to recover them.
4. Ms. Wilkinson's husband never showed when answering the door. He reappeared Sunday.
5. You could barely see Billy's head in responding to Ms. Wilkinson during the toilet scene. She had to step back considerably to respond to his line, "Aren't you a bit old Miss...?" They need to
get a platform for Mitchell.
6. There was no elevation of small "boy" over head by Big Davy, following George's "that's near enough..." response. "He" just hangs on to Big Davy's coat, and off they went.
7. Anyway...!
8. Must mention that during Ben's matinee performance on Sunday, at the end of BtoB, instead of jumping off the piano, he executed a speedy spinning routine [however it's called] as though he
he were on a pair of ice skates. It was remarkable, the first time I had seen it, and something I would have never thought was possible had he not executed it.

"FROM RAINBOWS TO FIREWORKS"

Not being a "rah-rah" New Year's Eve fan, this was the first time I can ever remember celebrating "fireworks" long after the onset of the New Year. Of course, I'm talking about the "rocket" that exploded on stage of the Cobb Great Hall. Let me say, the Cobb was a very warm, spacious, and inviting venue for BE. Despite that feeling of confinement in the middle of its rows of seating, all in all, it was immensely more comfortable in contrast to the Old Nat'l Center's Murat Venue in Indianapolis which I found to be a dark and dreary environment. You could actually raise or lower your seats in the Cobb without it sounding as though you were opening or closing a garage door, as was the case with sections of creaky seats in the Murat.

That being said, the "fireworks" begins and never ceases when watching Noah and Ben. Their rapturous performances of such gripping and emotional intensity, not only leave you in a state of breathlessness, but the two of them are equally capable of sucking the oxygen out of any theater. Consider the howls of anguish expressed throughout their "Angry Dances." The spectacle of rage they offer at the conclusion of the first act simply leaves the audience expressing the same "oohs and aahs" one might utter upon watching glorious candles of celebration exploding in the New Year's Eve sky.

When gauging the audience's responses as I'm always inclined to do, I'm reminded at the conclusion of "Expressing Yourself," the "Dream Dance," and particularly their "Electricity's," how Ben and Noah's emotive expressions can "bolt" the audience's level of excitement much as so many claps of thunder might reverberating through our living rooms at the onset of a storm; the after effects, of course, which might well be that rainbow about which I spoke earlier.

Ben and Noah are so powerful, yet so effortless in their deliveries, it defies logic. I just find them riveting to watch. The purity of both their dancing and their proficiency in conveying the essence of this story to their audience can leave one totally devoid of superlatives to measure their expertise. So exceptional are they, you could stay glued to a computer screen goggling their levels of proficiency and whatever it is that makes them so exquisitely capable of what happens on stage. However, the search might leave you burning a hole through your brain and/or your computer screen as you try to find clarity as to how they are so skillful in manipulating our sense as well as they do. It can sometimes seem like a futile search.

"IN THE ABSENCE OF NOSTALGIA...!

Albeit, while missing Kylend, this was a special weekend in that it was my first chance to view the work of our newest additions to the "Billy" lineup. As the brilliance of Kylend's talent will always remain forefront in that bastion of revered Billies, it goes without saying that the "powers to be" behind the scene who consistently discover and train new talent for the role have scored again with Drew and Mitchell. As such, those folks deserve utmost respect and appreciation for the job they do. It is because of their work, and for as long as this musical is viable, it will never lose its emotional luster in the lives of those of us who return to experience it over and over again.

After just a few weeks of initiation in the title role, if these two younger guys don't "ooze" of stardom in the stratosphere of the Billies we have known and loved so well, I'll be glad for you to call my hand. I mean..."but wow!!!" Drew and Mitchell are supremely athletic dyno-"mites." They are stalwarts in their execution and suppleness, and graceful beyond reproach even as they fill in the spaces of their own role interpretations. Their impeccable tempo and timing, their display of naturalness [a common word we all frequently use] stretches far beyond the rehearsed. They provide us the balanced authenticity I feel is so essential in drawing us into Billy's troubled world. They also exude an extraordinary swagger of subtle but reassuring confidence on stage which defies their youthfulness and which goes to great lengths in defining an emotional connection of utter persistence for me, frankly, of which I only wish had been evidenced in my own youth.

Being cheated out of an initial view of Michell due to his intermission withdrawal, nevertheless, as stated earlier, it was quite easy to see the burst of command he possess in the role. Barring an injury of sorts, I know he will be back in form should it have been the flu that felled him. I was so looking forward to his performance in the second act so as to get a full measure of his extraordinary talent.

But allow me to emphatically state...I was "THUNDERSTRUCK......." stunned...no, utterly "shocked," by an almost perfect performance from Drew Minard. Even as I write this it almost brings tears to my eyes. Was this guy heaven sent to fill this role, or what? How many weeks are we talking about here that he has been on board...4-6, I'm not sure? I simply could not believe my eyes, and I will tell, I don't think anyone in the house could believe what they were seeing and what this little guy was delivering either. To all of you who have not seen him as yet, my only suggestion is when he comes your way, you damn well better strap yourself in your seat, for you're in for a thrilling ride. It's been a long time since I've heard the kind of sustained applause, and literal sounds of adulation following an "Electricity" as was the case this kid received. This is one time, perhaps, that my hyperbole does not overwhelm me. Even at this very early stage, Drew is as good as any Billy we will ever see. He needs no seasoning. He has it all. Again, even as I write this, I'm still shaking by head in amazement trying to contain the joy he brought the audience and me this weekend. One performance, and he's a Billy I shall never forget. Unbelievable!!! Enjoy him!!!

Anyway, you would never guess their secret if you happened to bump into these miniature "dynamos" at a McDonalds, as they might appear like any normal precocious kid you'd find in line there most anytime. Yet, while watching Drew and Mitchell perform as professionals, you are suddenly confronted with an astounding stage persona from each of them which seems to well up from the depth of some magical core within their very beings. The distinctive nature and accomplishments of these two guys makes a mockery in this day and age of any semblance of mediocrity we sometimes too frequently assign to this generation of youngster.

"POWERFUL EXAMPLES...?

In fact, they serve as powerful examples of an artistic level of appreciation I so often wished I could have inspired from the thousands of athletes with whom I have competed and coached over the years. Coming from the shadows of Notre Dame University [and still depressed after their National Championship implosion] I wonder if both Drew and Mitchell, in concert with Ben and Noah, might remind one of the reincarnation of the famous "Four Horsemen?" There certainly is no doubt that this "Billy Foursome" is "hot wired" for excellence. The four of them may have the faces of angels, but their exhaustive execution and individual interpretations on stage can easily conjure up visions of "Super Men," as they so capably give their audience a kaleidoscope of athletic prowess and elegance.
As a famous Southern Michigan athlete [whose name is mentioned in the first scene] was once quoted as saying, it's the "float like a butterfly ['Electricity--Dream Dance'], sting like a bee" syndrome [the 'Angry Dance']." Perhaps, another metaphor of which I am immediately reminded, came from one of the judges of NBC's "The Voice" some weeks ago. In complementing one of his charges, he simply described his performance as "hot" enough to "burn the house down."

"FORGETTING ANXIETIES"

Not that a burning house at any time is an enticing thought to have. Nevertheless, I can't help but be convinced that watching this musical can provide one enough energy to melt away the"troubles" of most anyone's life. Furthermore, these four Billies and can literally alter your heart beat so that by the conclusion of "Electricity," you might experience the same kind of exhilaration, perhaps, similar to what one might feel upon winning a record breaking 5000 meter run. Considering the amount of energy these guys give us, they are capable of eliciting that kind of response. Their heart and souls become ours, and because so, we all leave the theater better for it. I wonder if that's one of the host of many good reasons so many of us return to these extended weekends of BETM as often as we do.

It is obvious this Touring Company has recovered well from the holiday zeal, and continues to provide us devotees with performances of other "worldly splendor." That has to be the case as Noah, Ben, Drew and Mitchell come from that "world" of which few, if any of us have any real knowledge. I never tire of the music, the energetic dancing, and most of all the young people in whose hands are carried the magical outcome of this story, and hence, concluding for me another excursion to the end of a rainbow.

What a joy it was to somehow spontaneously hook up with Forum members Mark, Scott, and Jason. It's always great to have similar mind thoughts with which to share emotions following each performance, notwithstanding, a meal between shows. My thanks to the three of them.

Respectfully Submitted,

Colin W. Stetson [cws8998]
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porschesrule
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Re: East Lansing Reviews

Post by porschesrule »

Wow, Colin!! Thanks for your great review. I really felt like I was there for those performances!
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jotunheim
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Re: East Lansing Reviews

Post by jotunheim »

Colin, thank you for taking the time for an excellent and very complete review. It was nice to chat with you during the breaks and gained a lot of insight from someone that has so much passion for the show.

I thought I should add that I am usually a pretty stoic person, but Drew's performance was so incredible on the Saturday matinee performance, I found myself with tears streaming down constantly during the show with how well he performed the role. He has the the little nuances with good acting already nailed with his facial expressions, gestures and timing and is already adding his own little flair to the role at 5 weeks in. For example, I always thought the "hoohoo" scene with Debbie and Billy was awkwardly scripted with an unnaturally long pause and artificial discomfort, but he was the first one that I have seen pull it off and make it seem like this was his true response. He also did very well in the scene in presenting the pasty to Grandma with some great gestures, and the timing of him looking for his sneakers very early on. He truly seems to love being on stage and is an absolute natural.

As for the dancing, and Colin mentioned this as well, I don't think I have yet heard a longer audience applause after Electricity - the audience was truly stunned at the level 12-year-old Drew was performing at. For me it was incredible to be there and witness such a magnificent representation of both dance and athleticism. I am a sucker for ariels and Drew did not disappoint.

I have already commented on Ben and Noah in Omaha and St. Paul, so not much new here, but both performed like true veterans and enjoyed watching both very much. Mitchell was not feeling well as Colin mentioned, so I don't think it would be fair to write a review on his performance based on the half performance that he was involved in. Honestly though, Mitchell performed very well and did not notice anything wrong other than maybe a slightly lower energy level. I very much look forward to seeing Mitchell perform at full strength when he is feeling better.

Thats all for now - hope to have a more complete review for Sioux Falls with pictures again next time around.

Jason
North American Tour - (15):

Milwaukee, WI - July 2012 - (1): Noah
St. Paul, MN - October 2012 - (4): Ben x2, Zach, Noah
Omaha, NE - December 2012 - (3): Ben x2, Noah
E. Lansing, MI - January 2013 - (3): Mitchell/Ben (split), Drew, Noah
San Diego, CA - May 2013 - (1): Mitchell/Noah (split)
Grand Rapids, MI - June 2013 - (3): Mitchell, Drew, Noah
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jdmag44
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Re: East Lansing Reviews

Post by jdmag44 »

Thanks guys for the reviews. I am off to Kansas City this weekend and can't wait to see the new kid who has so impressed everyone who has seen him. I hope Mitchell is well enough to perform, I would hate to miss him. Thanks again for you reviews
I always look forward to them.

Joe
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Re: East Lansing Reviews

Post by CJ-Rochester »

Wow Colin, what a pleasure it was to read your review this morning! In particular your impression of Drew is exactly what I experienced a few weeks ago in Baltimore. :D

I loved this line you wrote. It is so poetic!
There is no righteous pathway whatsoever in making comparisons between the new and the old, since we all know within the context of time and space, and without exception, they all blend into a magnificent whole.

-Chris
:/
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inspired
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Re: East Lansing Reviews

Post by inspired »

I had the pleasure of being in East Lansing this weekend for a short Billython. As Colin and Jason said, these are always more fun when you can hook up with others, and there were several of us Forum members in attendance. Wharton Center, on the campus of Michigan State University, is a beautiful facility, well-designed for moving large amounts of people with ample lobby space and restrooms. The only criticism I had was the continental-style theater seating with no aisles that can be a hassle if you’re in the middle.

It really is my “fix” going to see this show. I feel like these characters/actors are old friends that I get to see, and it’s such a joy the first time Small Boy walks down the aisle with the boom box blaring, signaling a fantastic weekend ahead for me.

On to the shows. I saw Drew for the first time at the Saturday matinee, and he is a little dynamo who follows in the best tradition of all past Billys. You will be in for a treat in June if you haven’t seen him yet because this newbie will be in perfect form by then. He has a very clear, articulate speaking voice and a very nice singing voice as well. And in the short while that he’s been featured on the tour, he already has one of those aerial flips in his Electricity.

I finally got to see Noah in the Saturday evening show, having just missed him in Boston. Wow! His facial expressions are fantastic and his acting is just so natural. He reacts to everything around him (I love great acting in the role) and he has a beautiful angelic singing voice. Every aspect of this boy’s performance is a delight to watch, and he is in full stride now as far as projecting a comfortable stage presence. Energy exudes from this kid; he’s definitely one not to miss.

On Sunday I got to see Ben, the “wise old pro” now, strut his stuff. I saw him in Boston as a newbie, and his training wheels are definitely behind him. He has such charisma on stage and twinkle in his eye, that he reminds me of Dillon Stevens in that regard. A strong Angry Dance is his forte, and he did the funniest getting-ready-to-box-Michael routine for George that I think I’ve seen in a long time. I’d also forgotten how good his singing voice is. Interestingly, in B2B Ben didn’t even get up on the piano to end it, rather doing some pirouettes before falling to the floor. We didn’t get to see him after the show to ask him why (they kept the kids in between matinee and evening – many pizzas delivered!). But Ben also does a sweet aerial flip in his Electricity and does the crossing jump rope in B2B.

As for some general comments, there have been more changes to the cast in the last half year than I think at any other time in (both) tours’ histories. But the show doesn’t miss a beat with these new actors. And to top it off, there was a lot of understudy substituting in roles this weekend that didn’t affect the quality of what we saw (never did see Joel Blum, George, in my three shows). Also, you know how you always pick up on something new every show you see? I noticed on this trip that other than the “heavy” scenes, there didn’t seem to be two minutes that would go by that we, the audience, wouldn’t smile/chuckle/laugh out loud. That’s one thing that makes this show so endearing to me.

Other thoughts:
- Still amazed every time I watch the ballet girls - what talent!
- Samantha’s Debbie has the eye-roll down perfect (take it from a junior high teacher!)
- As I’ve mentioned before, I wish they would do away with Billy in the box during AD – I think it really detracts from the intensity of the rest of that number. Perhaps it’s put in there to give the Billy a chance to catch his breath a bit before going on?
- I enjoy all the kids running around making noise among the adults in Stars during the a cappella part, but they were barely heard. I miss the noisy bantering of the kids in that scene.

So help me out with a question I’ve always had regarding the script. Why does Billy throw the acceptance letter on the ground and tell his family, “I didn’t get in?” It was such an important letter, and he was so stressed about it, and our Billy is so serious and determined, that it doesn’t ring true to me that he would do that just to pull a joke on his family. It seems like it’s there to fool the audience rather than a natural thing Billy would do. Thoughts?

Thanks for allowing me to share with those who cherish this show as I do.

Mark
28 shows, 17 Billys, 11 cities
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Re: East Lansing Reviews

Post by angelenroute »

inspired wrote:So help me out with a question I’ve always had regarding the script. Why does Billy throw the acceptance letter on the ground and tell his family, “I didn’t get in?” It was such an important letter, and he was so stressed about it, and our Billy is so serious and determined, that it doesn’t ring true to me that he would do that just to pull a joke on his family. It seems like it’s there to fool the audience rather than a natural thing Billy would do. Thoughts?
Thanks for the review, Mark! I believe the answer is that theatrics trumped reason on this decision, and it really follows suit with so much of the brilliance of this show. Just when we're laughing, something sad or bad happens, and vice versa. Lee Hall's incredible writing falls on us like waves, so the emotional highs and lows are like a great back massage for the soul. =)

Sean
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Re: East Lansing Reviews

Post by ERinVA »

I think it's a way of testing to make sure that his family really does support him. But there's probably a hint of "having second thoughts" in that as well. After all, when everyone else has gone "down the hall," Billy says to Grandma: "I'm not sure I want to go. Can't I stay here?"
Ellen



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